IMFourPlay

I was personally relieved when Gina agreed to return to this year's production of FourPlay as my Assistant Director. We developed a great directing chemistry last year, and it continually amazes me how often we're on exactly the same page when it comes to what needs to be done next in the process. Now that we've reached the performance stage, Gina is instrumental in keeping the show running smoothly and strengthening throughout the run. Gina agreed to meet me on the roof of the Centroplex Parking Garage where we caught some rays, sipped on unsweetened iced tea and enjoyed a little Ben and Jerrys.

Current favorite musical: As you could probably tell by my audition for the show, I don't know musical theatre, but know more than I did before I worked with FourPlay. I'm a big fan of Disney movies, though. Does that count? They sing a lot.
Current favorite improv game: Scene Three Ways or Alphabet, Shoulda Said, Shakespeare (I like the torture)

DC: Gina, as someone who was inextricably involved in last year’s debut production of FourPlay as well as our new and improved version 2.0, how would you characterize these two processes and products, and what distinguishes our current offering?

GD: What does inextricably mean? No, really, what does that mean? One question into the interview, and I'm stumped.

DC: Sorry about that. Let me try again... You have a unique perspective each evening, as our eyes in the house during the performances. For those who have seen you frantically taking notes in the house, what are you looking for as the production unfolds?

GD: My job is to watch everything to review later. Any one of 4 main characters can be chosen as the story we follow in Act II. I look for the character who will pose the biggest obstacle(s) to the hero in Act II. Also, we see 16 characters the first half - 4 are inspired from the audience, but the other 12 are made up instantly. The actors are coming up with real relationships with these crazy characters on the spot, making up lyrics, and changing costumes, all the while having to remember what they've created. I help them keep track of that. I write everything down, and at intermission, my job is to remind the actors of the little stuff they do and say ("Chase, don't forget you said your character's dad's left eye was eaten by a baby pig.") and to also find possible connections between any of the 16 characters ("Robyn, you said your character grew up on a farm - maybe that farm had pigs.") Then we save the little gem that maybe Robyn's pig ate Chase's dad's eye for later. Maybe they use it, maybe they don't, but they have it in their back pocket as a possibility. We review the characters at half time, and I try to keep that short so our audience doesn't have to wait too long. If you're waiting for a long time, my apologies, but you have to realize how inextricably linked these characters are. It's not always easy.

DC: Nice word usage! You’ve been involved with SAK for some time now as an Apprentice, Host and member of the Generation S ensemble, but as of late you’ve taken on another role and project. Tell us a little about the process of co-creating SAK’s inaugural High School League. How did this idea come about, and where do you see it going?

GD: Improv is pure joy. Somehow we talked about how cool it would have been if improv was around when we were in school and how cool it would be to offer something like that now. Then someone asked why we didn't, and we didn't have an answer...so John Hunter (co-creator & all around swell guy) and I figured it out and helped develop the program. We had 4 schools involved this year, and they got to do 2 shows. There was such joy surrounding the project. Eventually, we think it'd be great if schools could have a whole improv season where they have matches against other schools, and it becomes something in which your school just has to be involved!

DC: I became involved in improv during my high school days in New Zealand. I'm glad that you're giving this opportunity to students in our area. As an improviser, you’ve also been involved with several interesting projects outside of SAK in the last few years. Are there any particularly interesting highlights that you’d like to share?

GD: Why yes, David, I worked with you in a Fringe show. It was a grueling rehearsal schedule by this slave driving director, but one of the most amazing shows I've ever done, which I can't really describe because "you had to be there." Also, John dared me to get something out of my car when I was naked two nights ago. That wasn't so much of a project as a one-time thing, but it was "interesting" and "outside of SAK," and John said it was a "highlight."

DC: I'm not quite sure how to respond to that...

To learn more about Gina, go here or, apparently, wait outside her car late at night.